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tv   Charlie Rose  WHUT  June 20, 2012 6:00am-7:00am EDT

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>> rose: welcome to the program. tonight, a conversation about woody allen's new film called "to rome with love." joining me the actors alec baldwin, penelope cruz, greta gerwig, ellen page, and woody allen's sister, letty aronson. >> i called him as soon as i read it and i said of course i want to do this. >> rose: suppose you had just liked it, didn't love it, would you have still said yes because it's woody? >> yes, because i'm sure i would have found something. you know. it's hard to believe that i would read a script from woody and not love it because, like, i am such a big fan of his work. all my life, all the years that i remember, since i discovered cinema, i have been watching his movies over and over again, and really admire his writing and his work as an actor. i would really like to be able to have done this twice. >> it's tough because the--
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the-- the press and this instant social network twitter age we live in, people think i'm out there just decking photographers willy-nilly. nothing could be further from the truth. i'm in front of a courthouse. the place is crawling with cops. >> rose: your marriage license. >> if i'm slugging a photographer in front of the courthouse-- i'm done, but i'm not that done. there must have been 10 cops right there on the block. this is a guy who dated me before. he camped out in front of my house. they've done this before. i was stalked recently by a woman. it does-- you ignore it-- i'll tell you a story and i'll just end with this. you ignore it. many, many years i was friends with a guy, an abtor, and he was date ago in its infancy, rerebecca schaeffer who got shot in the door of her apartment. we minimize this stuff and ignore these invasion into our lives until one day it is not
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advisable. >> rose: we expected to have a conversation this evening with a florida senator, marco rubio. that program was changed because of pressing business in washington. the senator will visit us next week. tonight, woody allen's film, "to rome with love," the actors and woody's sister talk about fame, rome, and movie making.
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captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> rose: as he told us in his film "manhattan" woody allen aers to new york city, but in the last few years, he's taken audiences on a cinematic tour in europe. in "match point" and "scoop "he took us to england. now italy is on the horizon.
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the new film is called "to rome with love," and here is the trailer. my job is to stand up here and i see all people in roma. >> they gave us such a great room. you married a very bright guy. i got 150, 160 i.q. >> figuring it in euros. in dollars, it's much less ( speaking italian ) upo>> i lived in rome for a year when i was your age. >> this might have been my exact street. >> come on in. >> my friend just broke up with her boyfriend, i told her she could stay with us. she's smart and funny. men adore her. i think it's because of the sexual vibe. i always had a you know for
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sleeping with women and when i finally did it, it was incredible. >> she's something, isn't she? ( speaking italian ) >> michelangelo. >> hi. >> my father. >> the kids a communist, the father is a mortician. the mother runs a leper colony. >> i don't want to do it here. >> you're going to screw your best friend's boyfriend, does it really matter what the venue is? >> you will never understand women. >> that's been proven. >.>> rose: the film is four vignettes. one stars alec baldwin, jezy
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eisenberg, greta gerwig, and ellen page. another starses can crews, and allen tibry. >tibry. it is woody's first appearance since his last film "scoop" in 2006. here is that vignette. >> he's going to be a big star. >> she probably won't stab a woman. go ahead. calm, calm, relax, relax. you have an attitude problem. put the knife down. this is going to be our mother-in-law. >> rose: joining me four cast administration alec baldwin, penelope cruz, greta gerwig, and ellen page. also woody's sister and longtime producer letty aronson. i am pleased to have all of them at this table.
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welcome. letty, what is this all about? tell me where this is in woodia journey? >> you mean going to rome. >> rose: yes. >> rome is very beautiful. the people who financed it are an italian company and we always go some place that woody feels comfortable being for three months because we're there-- we only shoot for seven weeks, but we're there for preproduction, so we're there a good 10 weeks. >> rose: particular time of the year? >> always in the summer because his whole family comes and the kids are off from school, so we always shoot in the summertime. and rome is beautiful. we had a great time there. >> rose: alec, this is your second film with woody. what is it? why do you say calls, "yes?" >> i just think it's easier, i mean, aside from the whole history of his film making career and his success commercially and creatively, it's easier when you're with the writer-director-producer, you know the guy-- it's all one
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voice because movie making today i think increasingly is not one voice. it's where you have one person who is in control of everything creatively. and it's movies, also, about people because so many movies today are not about people. they're about, you know, plots, and devices and machinery, and so forth. so when you go do the thing with we'd, i feel like what i do is more at the fore, more important, really. >> rose: and this is your white? >> my second. >> rose: in the first one you won an academy award. >> uh-huh. >> rose: but there's an appeal to working with him for you, too. >> it's incredible. it's addictive. i always want more because he shoot so fast. both movies i've done with him, i did the first one in three and a half weeks, the second one in three weeks. it's my dream to make a movie with him in new york. to see him shooting in new york, or i in madrid. >> "don quixote."
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>> javier has a good idea-- i don't know why i told glu what is javier's idea. >> no, no, woody has to think about it. i don't know. >> it's a great idea. >> rose: it is a good idea. woody allen. i mean, there's an attraction. he's a certain kind of director. he's more than a director. as alec said he's a filmmaker. >> he's, like, one of the few artists we have making movies and he's so special because he's like-- you know, he came from comedy and he's a comedy writer and he kniepped the two, cheese such a humanist. and i think that's not-- that doesn't happen a lot right now. i feel like film is dominated by machines or something. and he -- >> rose: he also lets you go off script. >> he did, although, that's not-- it's really scary to go off script with him because he's my favorite writer so i always felt a little october ward about
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changing his words. >> rose: and this experience for you, ellen? >> i mean, it's been. >> -been-- it'sactually quite s. when the opportunity popped up i was nervous and intimidated and sort of just went in and did my best to suppress all of those feelings. and hopefully, popefully them. working with them is incredible. and like greta said you have this liberty and this freedom and i think a lot of-- a lot of that comes just from the fact that the material is so incredible. >> rose: we have four vignettes here. >> yes, we do. >> rose: you play john. he comes to rome. there is jack. pick the story up for me. >> well, i think that, you know, when you have the suggestion of some things in a movie like this with we'd, you're never going to get movie to point to it and go, "yeah, that's it." it's like a work of art, in some sense, in that it's left to the audience to decide. who i am and who is real and who
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is a figment of whom is for the audience to decide. for me i had to make a choice, but i won't say what that is. i come to rome, and i run into a bunch of people, and we all have an unusual relationship. >> rose: let me say what it is. it is at least the sense of a man who comes back, he goes and finds there's a young man named jack who reminds him of himself-- >> i think it's more likely i'm conjuring them. it's hard for people to conjure their future so i'm conjuring my past and anything back in the past to talk to a younger me, perhaps. >> rose: there is at least that. >> the point is, when you work with woody-- i don't want to break into into my wooding impersonation-- you say that because you want supporter when you're shooting, and literally the most you get from woody, you run by what the movie is about and woody goes, "yeah, sure, another we'll go with that." >> rose: but it doesn't matter? in other words-- >> you make a choice and you go with it. i made my choice and i went with it, that i'm going into the
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past. >> rose: and he says that's why i hired you, to make choice. >> perhaps. >> rose: the other vignette is yours. who is anna? >> anna is a prostitute. >> rose: high-class prostitute. >> high-class. this italian couple that is from out of rome, they go to rome, they get separated, this couple, and my character, anna, ends up in the wrong room. >> rose: with antonio. >> and has to pretend to be somebody else. >> rose: married to him. >> yes. and she's a very bad liar, and she says everything she thinks and she causes a lot of trouble for these men. >> rose: and then she goes to a party. >> and she finds all her clients. >> rose: and they want to talk to her. >> they want to make appointments with them. and she doesn't have her agenda and she's very busy. >> a very talented prostitute say bad liar. this is amazing when you think about it. >> it is interesting. >> rose: you want your prostitute to be discreet. >> i love her. >> rose: how was the character
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for you? when you read the script did you care or did you say, "i get this. this is something i love." >> i got it and i loved it and i called him as soon as i read it and i said, "of course i want to do this." >> rose: suppose you had just liked it, didn't love it, would you have still said yes because it's woody? >> yes, because i'm sure i would have found something. it's thoord believe i would read a script from woody and not love it, because i'm such a big fan of his work. all my life, all the years they remember, since i discovered cinema, i have been watching his movies over and over again, and really admiring his writing and his work as an actor and i feel really lucky to be able to have done this twice. >> rose: you two play friends. monica and-- >> sally. >> rose: monica and sale. >> monica, the girl you cheat on. >> exactly. >> that's who i am.
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>> rose: who is sale? >> she'sa graduat she's a graduo is in rome, and he's a graduate student as well. working with the, like, alec, and ellen and jesse was so great. what ellen did, i always thought of sally as a flip side of-- she's, like, the opposite, of course, that's what would attract her boyfriend to the opposite of her mis very shiny and glimmery and kind of a liar and very exciting. and i think my character was grounded and honest and not that interesting. ( laughter ) >> rose: and what about ellen? what makes ellen so interesting? >> she's very intelligent but she doesn't have a depth of knowledge but she knows how to spread it out and use it really well, and manipulate the situation. >> rose: you have a kind of grudging admiration for her? >> oh, sure.
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as a friend, she's an exciting friend to have as long as her escapades are with other than my boyfriend. >> monica? >> i think you described her quite well. it's interesting when you're an actor and coming into playing a role like this, someone who is easy to judge and perhaps maybe demonize by certain people. the most important thing was to not do that. and i-- i found this girl who was-- yeah, perhaps being relatively manipulative in regards to the-- her-- her-- her utilization of, like, certain knowledge that doesn't maybe necessarily constitute some kind of, like, intellectual base. and a way of existing that perhaps lures people in and whether that's to fill her own emptiness or insecurity, perhaps, i don't know. >> rose: let's take a look at the clip. this is a scene in which sally tells jack that monica, you, is
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coming to visit. john, you, are against it. >> oh, my gosh, my friend, monica, she called. she's going to be in rome and i told her she could stay with us. >> i'll finally get to meet her. >> she just broke up with her boyfriend so she's a bit at loose owned. >> trouble, trouble in every city. >> why trouble. >> you're just going to love her. she's smart and funny. and interesting. men just adore her. i think it's because of the sexual vibe that she gives off. >> uh-huh. and how long is she coming for? >> oh, i don't know. between the breakup and her acting career isn't going that well. >> can't you see the situation is fraught with peril. >> give me a break. her friend is coming. i'm not looking for anything. i'm perfectly happy with sally and judging from sally's description, monica is a neurotic unpredictable sight. >> beautiful, funny, sexual, and
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neurotic, it's like filling an inside straight. monica... even her name is hot. ( laughter ) >> rose: so where is john coming from in this vignette? >> well, you want to tell people that are younger not to make mistakes that you know and you want them to leapfrog certain things in life and they never can do that. but i want to say one thing, not just to compliment her, but woody-- woody shoot economically and doesn't do a lot of coverage and doesn't do a lot of takes and he relies on us, and everybody shows up ready. if you deliver a take and an unbroken take and she has this wonderful monologue in this piece where she describes this sexual encounter of hers. and if you get the job done, they don't cut. they just stay on you and stay on you. when i saw it in italy-- i don't know if it's changed-- there's a take on her that she just kills this. it's like in a play and it holds
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on her and holds on her and she rups the ball of the length of the field, 100 yards. it's fantastic. >> rose: a touchdown was it? >> yeah, she was great. >> rose: tell bus it. tell us about that scene, doing it, this whole monologue and go-- >> you knew you were going to steal focus the entire day. >> no. >> you you of knew what you were doing, you knew. >> i don't think i've ever been more nervous and intimidated going into shooting a movie. and quite frankly, when you're reading something he's written and it has this natural rhythm to it, that feels so organic and working with incredible actors and being surrounded by such wonderful people, i mean, i'm just doing my best to embody someone and be present with it and hopefully, yeah, it works, and that's very kind of alec to say that. >> rose: but it is nice to nail something. if you were doing it without woody there would be tons of coverage to take care of you. >> the good thing about woody is that everybody wants to work
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with him such wonderful people show up. when woody calls you, "come do a movie" you know who you're going to be working with that day. >> we're very lucky in that way. to get people of this caliber to loowork on our films. we shoot no more than seven weeks, no rehearsal. >> rose: is it economic or is that style? >> partly style but it's economic. we operate on a very low budget-- as all of these people can tell you-- and we get very good people, and woody is always fond of saying he hires the best people and lets them do their thing so they're always good. we can't afford to shoot for more than seven weeks. >> rose: now, what's the deal? rome-- italy or the city of rome knows that they would love to have woody allen, a, make a movie in their city, b., nikkeia movie about their city in which the city is a character, and they say what would the movie cost and we'll pay for it?
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>> a particular company will do that not the city. a video company will finance a movie, if you will do it in rome, or other cities. now, rome happens to be a place we were happy to go to and it's very beautiful. >> rose: do the movies make money? the movies do. my job is fiending the money for the movie. i always give people this pitch-- you're not going to make a killing by investing in woody's movie. you're not going to make hundreds of millions of dollars. we're just not in that same ballpark, but you are not going to lose money. >> rose: what is your theory of the idea that, you know, people like different movies that woody makes, and some love vicki and? people love the paris movie but didn't like "match point" those kind of things. and that's the nature of the market. >> yes, that is the nature of the market. >> rose: but how does woody see it? does he see it simply, "look, i do it the best i can and it's
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for somebody else to like it or not like it." >> he comes up with an idea that he thinks is great, an and will work, and then he does it to the best he possible can. he is in charge of the entire thing, what you wear, what you say, the editing process, everything. yes, he approves the posters, the trailers, all of it. >> rose: what we call a filmmaker. >> yes. he hopes that people will like it. he can't help it if there's a group of people that don't like it. >> rose: he's not catering to what he thinks they want to see-- >> definitely not. you can never, of what people will like. >> rose: does he focus it-- >> no, never. there's no market testing. there are no notes. there is no market test glg i've made my movie and they like it or mott. >> he hopes they'll like it. it's not take it or leave it. but you-- you're investing in
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woody allen. because this-- this-- woody doesn't write until the money is secured. so i have to get the money by selling nothing. >> rose: so what does he do while he's waiting for you to raise the money? >> he goes to knicks games, he writes for the "new yorker." plays music. we're doing a musical "bullets over broadway. of he's always very busy. >> rose: let's take a look at another scene. he plays antonio, she plays a high-class hooker.
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>> rose: when you watch that, what to you see in you see two characters but do you watch it critically when you look at a scene like that? >> i'm terrible at watching myself. i'm always thinking what else i could have done, but i'm not even going to start on that because that's the most boring thing an actor can talk about. but i never go home feeling happy about what i did. >> rose: never? >> i feel i love this movie and i'm so lucky to be in it. >> rose: but you're not necessarily thrilled by what you did or you can think of a thousand things you might have done otherwise. >> yes, thinking about the things i could have done differently. >> rose: do you think of it oral is your life so -- >> the permanent of a film is to btobe entertained and i can nevr
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be entertained by myself. i don't watch the film. i watch films like this where it's an ensemble piece, you get it on dvd, and fast forward through your scenes and watch the others. >> rose: okay, i want to show you a scene in which jack played by jesse eisenberg-- you remember him from "social network," and ala ellen in which they-- here it is. >> how would you feel if i kissed you? >> oh. that is a nonsequitur. >> oh, little miss shocked. didn't you see two minutes ago she popped a tick tack. what do you think that was about? i'm serious, what would you think? >> i would think you're living with my best friend. >> yeah, this is true. and yet, i can't stop myself.
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>> oh, that's not good. >> you didn't like it? >> no, i liked it, and that's what's not good. >> rose: woody also plays in one of vignettes himself. >> yes, he does. >> comes back and find a would-be opera star. >> he goes to visit his daughter who is marrying an italian, and they meet the parents. they meet the would-be in-laws. and he's not an opera star. he's actually-- actually runs a mortuary, i believe, but he does sing very well. >> rose: how does woody make a decision as to whether he wants to put himself in the film? >> if there's a role that he can easily do, because he's not an actor like all of these people. so there's only -- >> rose: what is he? >> >> well, he has a limited range as actor. >> rose: does he think of himself as primarily a writer or-- >> a writer, a writer. >> rose: a writer? >> definitely. >> rose: first line of the obituary for woody allen would
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be "writer." >> if he wrote it himself. >> rose: if he wrote it yourself. what would be the first line of your obituary if you wrote it yourself. >> i couldn't answer that question. hopefully-- i don't know. i'i'm getting married soon. it might be a whole other life i will have now, my new life. maybe i'll have a kid who becomes, you know, something, you know, the father of, you know, robert baldwin who cured cancer. i don't know. maybe my identity will be -- >> rose: are you at a point in your life now where you look at it as you can see the evolution, and you realize that alec baldwin now is having the best professional opportunity of his time, yet at the same time-- >> no. i mean, to me, it's all-- the idea of going out there and very aggressively-- you know, this is a business which has, for better or worse, there's some element of competition to it. i'll never forget dustin hoffman said to me, "we're all in a
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line. some of us are just in a shorter line" in order to access materials and script and stuff. i'm 54 years old coming out of a tv show that's opening this year, after seven years. >> rose: it was very successful. >> it went well. we were very happy. at this point in my life now, it's not about that determination and that kind of white knuckling my career to get what i want. it's like whatever happens, happens, and i just want to be happy. and before i was like if this movie doesn't do well, you'll see me walking out on the cliff, staring down at the edge of the cliff, the movie bombed, it didn't make any money, i want to jump off the cliff on to the rocks below. it all mattered a lot more than it mattered now. now i'm like, "who cares? >> rose: when you have an incident-- you get upset when somebody is invading your privacy. >> the guy almost hit me with a camera. there was a person in front of
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me, and i was block him and he lunged and he almost hit me in the teeth with the lens of the camera and i pushed him away. my favorite line is john malke,ivism, they all scream like they're-- what did he call it? political prisoners he said. he said -- >> rose: you mean the paparazzi? >> yes, they all scream like political prisoners. i don't want to take our valuable time with this, but in this business, in the modern era, all of us, we make appointments with the press. this is an appointment with the press. we make ourselves available as an obligation, per our contract to our employers, to represent the product and help to sell the product. and when i walk out the door, that's over. when the guy jumps out of the bushes with a camera and tries to take a picture of my kid, they want to say to you, "here's another appointment you have with the press." >> don't get me started on this. >> she and her husband are huge victims of this at home, correct? >> but i think it's good to talk about this. >> rose: i do, too. >> i think it's good to talk about this.
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this movie also talks about this subject. >> rose: it's about fame. >> the other day woody was saying a lot of interesting things about it. they asked him, and he was saying, okay, you have to choose, some of the advantages of being famous are great. like i get great tickets for basketball, great table at the restaurant. but, i mean, woody has been on both sides of it. he's-- he knows what it is. he knows how to deal with the difficulties of it. but somebody asked me, and i said, yeah, i agree with him, that advantages are very unfair, but the disadvantages are also extremely unfair" and i don't care if somebody takes my picture. but what alec is saying is true, it has to be a pollutual agreement. it isn't, okay, i can deal with that whether they take my picture. but when it's about children, when there is not a law protecting privacy of children, it drives me crazy. and until-- there are many
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countries in europe, there is nothing you can do. you can complain about it. but there has to be a law to protect the children so that those children can go to school and be one more in the class. they deep the have to be the daughter or son of so-and-so. it really changes the dynamic. don't you think? >> year, i think so. >.that happens when you're a famous, couple, too. and you your husband are very famous. that's exponential. >> rose: you did, too. >> once upon a time i did. it's terrible. i love doing this kind of stuff under the right circumstances. this is a joy to be in a group with people and it's different, and you go and do ." >> reporter:man." we all have our favorites and we all have ones we like to do more than others but this thing in the public, it's tough. the perez and this instant social network twit age we live in, people think that i'm out there just decking photographers willy-nilly. nothing could be further from the truth. i'm in front of a courthouse, the place is crawling with cops
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-- >> rose: you went to get your marriage license. >> if i'm slugging a photographer out in front of a courthouse-- i'm dumb but i'm not that dumb. there must have been 10 cops right there on the block. this is a guy who dated me before. he camped out in front of my house-- they've done this before. i was stalked recently by a woman. it it does-- you ignore it-- i'll tell you a story and i'll just end with this. you ignore this-- many, many years ago i was friends with a guy, an act owho he was dating in its infancy, the earliest part of his relationship, with rebecca schaffer, he dated rebecca schaffer, who got shot in the door way of her apartment by a stalker. we ignore this stuff and minimize the invasions in our lives until one day it's not advisable. so sometimes i do draw the line myself. you know, i say to somebody, "put that camera down or we're going to have" -- >> rose: do you think more that they know it may make you angry the more they want to do it.
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>> they bait you. it's the sean penn syndrome where they come after you and they know you'll take the bait. this guy said i hit him with my fist. it is absolutely untrue. the point is, you have to understand that-- i mean, like, when i do these things, the legitimate press-- and i'm forced to make my own determination about this-- the legitimate press, i respect them and i can't wait to do these kinds of things. i want to help sell the movie, especially with somebody like woody. >> exactly. it's part of our job. >> rose: i want to believe you come here because you like the show, not just because it's your job. >> no na world where we have a job to do, these are the ones we like to do. with the illegitimate people these people need to be deported to some island -- >> rose: what was it that you tweeted about this? >> i don't remember. >> rose: something. ( laughter ). >> i tweeted a lot of things. >> rose: just one last moment about this. it's one thing about you. it's also about your kid, too, protecting him. >> and it's very easy to hear
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somebody complain about this, and the way the world is right now, and to hear some actor or singer complain, and they say, what, are you complaining about?" i understand that, but i'm not-- i never complain about it for myself. but i've seen it with many children of friends that do the same job, and when it's about children, this is not our game. this is a serious thing. this is-- i mean, that law exists in so many other places. there's a reason for that, but not here. >> rose: and you think you need more protection here. >> it's-- it's obvious. it's not-- it's not something-- something-- it's, like, basic needs that a human being needs. >> if they want a picture of you-- for example, i live here. she lives in europe. and we're here and they'll follow you around. what's unusual is tomorrow we have a red carpet for woody's movie. they can take all the pictures of her they want to, or whoever
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tomorrow and we're there by appointment tomorrow but they'll follow you around all day and harass you. >> we do these 10 days in a row and do press for every single country and we are very happy to do it because we want to support the movie and, yeah, of course i love your show but this is part of our job and there are many other shows and maybe i don't love but we have to do it because we want to sell the movie and it's part of our job but you have to have a few hours in the day that are just for you and your family. >> can i ask you a question-- is this your lucky table? has it always been the same table. >> rose: yes. >> from day one, it's the lucky table? >> rose: yes. and there are no marks on it. all we do is tighten it up. >> you could have been talking about the roberto bernini section. >> rose: what's the theme. all these four vignettes and what one part of this or all of it is about what they've just been talking about, the price-- both the joy, the-- all the good come from fame, and yet, at the
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same time? >> >> right, i think the bernini piece -- >> rose: this is roberto bernini, plays one of the vignettes. >> yes makes a real statement about our times and the publicity and how they follow him around and watch him shave. and the most unimportant thing-- it's kind of like the paris hilton syndrome of stardom. that kind of thing. that-- that one-- that one piece of the film, that one vignette makes a very-- i think-- very important statement about what's going on. >> rose: have you begun to experience all this as sort of-- >> i don't. i don't at all. but i'm very, like, i-- i am low-- i was going to say "low rent." that makes me sound like a prostitute. ( laughter ). >> i think the most i ever get is people saying -- >> rose: they enjoyed the performance. >> yeah, they enjoyed my performance, like the manicurist
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i think the interesting thing about the roberto bernini piece, it makes a statement, fame has no qualitative value. there used to be a correlation to achievement, and now there is a certain type of fame that has no correlation to achievement. it's fame for fame's sake. >> rose: there are people who are famous for being face. >> and i remember when i wanted to be an actress and i wanted to be successful like you all do, and my mom was like, "anybody can be famous. just do something crazy if that's all you want. but if you want to achieve something, that's a different thing." >> another aspect of that is with the social media and twitter, which is so instantaneous, if you're outspoken politically, let's just say-. >> rose: let's say for the sake of argument you don't mind expressing it. >> you're very vocal about your political advocacy and you have your political opposition and they get on the internet, and within 30 minutes the misrepresentation of the story is out there.
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by your political opponents. you go on twitter "fox nation says baldwin punches photographer. "not true. and that's the thing they fiend is the most difficult because in the world we live in where our reputations are a component of what we do-- i mean, there's your work and your craft, your dedication-- whatever. your reputation is a part of what you do. we're no different than other people which to be wrongly accused of something is one of the most painful things you can deal with, for somebody to disseminate something far and wide about you which isn't true. and this is the thing in the age of internet to combat people who say, "joe blow did this and joe blow is guilty of this" and it spreads like a wildfire, and buffer know it-- i'll walk down the street and have something happen and walk in the door-- i'm not kidding. it's like a woody allen movie. you walk in the door eye would love woody to do something about the internet-- my door man would
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look at me and go, "i'm awfully sorry, mr. baldwin. i read on the internet there, that you had that, you know, that, whatever, you had that thing with that guy, down in-- you know, you clocked that guy down by the white house chows. not very smart, mr. baldwin. not very smart. cops somewhere. courthouse. you might have waited until you got a couple of blocks away, behind the hot dog stand, maybe." the ups guy is getting out of the truck, "mr. baldwin, not too smart." >> oh, my god. >> but once something is on the internet, it's there forever. >> yes. >> you can never eliminate it once something is on there. it's very different-- >> etched in stone. >> very different world, very different. >> rose: do you think this will never change? penelope can talk about the laws in europe but not here. is it just getting more intense because of instant communication -- >> rose: how does that play
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for you? you have fans. i was a fan of yours and molested you on the plane one time, remember? my daughter-- "not too smart, mr. baldwin. molestation. that's bad." "oh, my god, my daughter loves you." >> i was such a big fan of yours and it was such a nice conversation. the interesting thing is the immediacy of going through the transition of having people not know who you are and being 20 and then having this weird little indy movie you did have this very unexpected response, and then all of a sudden, you're 20, and-- i'm 25 now-- and i always look younger than i am, and i'm tiny, and all of a sudden there are, like, big men chasing you and yelling at you. and, like, you know, chasing you in your car. it's like, i get it. it's a part of my job. and it's, like, a part of just what happens. you know, i wanted to be an
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actor. you know what i mean? but it was an interesting experience-- or to be staying at a friend's house in l.a. before i lived there and have people follow you there and not realize it. and sort of, like, learning how to just-- how one learns to adapt to that. but i think there's also ways where i think it's probably harder for you to control or having children or, you know, being with your husband and-- and how much more that makes it much more intense. you know, i'm just, like, boring, and i don't go out a lot. and, like, dentue know what i mean? i think there are things that attract it as well. but -- >> rose: alec is right, though, if you're a couple, even more so. i remember how many thousands times people would ask about, you know, are they getting married? are they not getting married?" >> i think it's enough with one of them having a job. it doesn't have to be two people in the relationship.
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even with one of them is like, you know, and another of these trends of, you know, like a few pages reserved for babies or expo so. i would say they're not handbags. >> rose: they're not handbags. >> it's really crazy. but i do think all of this has to change because i think it is going to explode because i think people are realizing, information, communication, the news has no credibility anymore. and people are slowly realizing-- just about a movie-- it's like, i don't know anymore to know where to go to what is truth? >> or better boundaries. little kids being harass is traumatizing. like, that can't be easy when you're really little and this is, like an invasive thing. if i was a parent -- >> rose: ...there are people who take serious, woody writes
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for the "new yorker" magazine, takes it seriously. this program takes it seriously. cbs news takes it seriously. >> no, no, of course. no, no-- none of us are putting you or we'd's writing or serious press in the same category of the guy that decides to chase a two-year-old in the street. none of us. the difference-- i mean, you cannot even put it in the same sentence. >> i want to ask one important question, my wife-to-be was raised in spain, and would love to be back to spain. and i was going to say, who you and javier like to hire me as head of security there in spain? i could go there-- >> i think that would be very smart. >> i could be very helpful for you. >> apparently a-- not too smart, mr. baldwin. door men in madrid. god! >> but, please, i hope you know
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we are not generalizing. >> rose: i do. i just want-- >> completely different world. there is the serious press, which i have a lot of admiration for, and then there is the other thing that i don't know what name to give it. it's just eye don't call that press. that's something else. >> you get a list of "people" magazines, the old story is you don't do that magazine that much unless you're safe because they'll edit you. how many times have i done a magazine story-- especially years ago when i starred in films more-- and the guy would be sitting there and no matter what i would say, i could say the most bainal thing, "i work with ellen. and he's sitting there going uh-huh. and it's click, click, click, click. he's loading up. in tv-- i'm not just saying this for your benefit-- there are people who are preferred, you know there is going to be a constructive conversation, this show, you, people admire you, they love you. there's a group you do, and
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there's a group you endure. >> rose: the idea is it is part of our times. this is-- >> it is part of our times. >> rose: and this is part of the themes although i would love for woody to listen to this a-h. there's an interesting movie to make. because he's brings not only his personal experience with it, but he also brings the power of his own observation to it, you know. >> yes, i think that's true. his own personal experience. you know, whenever there's a movie out, there's someone who writes that that movie is his own personal experience, no matter how different the film is, that's what they hone in on. you know, so it's preordained that they say that. but, yes-- well, i think the roberto per19 part doe bernini k to that. >> rose: it's a look at fame. >> i don't think things will go back-- things never go backwards. >> no, but it will be something else. i mean, hopefully,.
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>> maybe. >> i don't think they will go back. i always think i belong to another era because i don't twitter and this and that. i'm not made for this. >> rose: meet your new head of security. >> penelope whom? who wants to know? ( laughter ) >> rose: let me just talk a bit more about the themes of this movie. there's always a sense of sexuality and sex and our interest in the other sex. >> uh-huh. there are-- yes. >> rose: what else is he getting at here? >> in the different vignettes? well, the most fleshed out one is the one that alec's in, you know, and -- >> rose: the man of middle age looks at the younger he. >> looks at his life. >> rose: and why does he feel compelled tol admonis to admonie
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character? why does john feel he needs to admonish jack and say, "this is what i learned, buster." >> i think in any good film, especially with someone as accomplished a writer as woody, there's a drama that could be made from the same script almost. you could have a movie in which the john character goes back in time and visits his younger self and getting away from the-- and detouring from the comic purposes, speaks only to the jack character. in a very dramatic way. i could sit down with him and you to be having literally this one-on-one, this tete-a-tete with your younger self, and trying to get him, again, pole vault over these problems in his life. it is a comedy, so he has me speak to them as well, which is interesting. i actually talk to them. it's supposed to be funny, but i think woody-- i mean-- and i'm not saying this to be some kind of, you know, hand fists compliment-- but woody is like
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shakespeare in that way, where sex, and the element of sex, sexual relations between men of whatever age and people of whatever age, throughout life-- young, old, whatever-- that's the main meat of the whole thing, relationships, of which sex is just a part of it. like shakespeare, tue the true line of what most of what woody does which people can't get enough of. >> right, but the piece that penelope is in, and even the vignette that woody is in i think are just pure fun. a good idea -- >> rose: with a character we love. >> just fun, good idea, and well executed, and, you know, without any deep under, underlying, important meaning. >> rose: was there some sense of great fun to play this character? was anna a character you wanted to say watch me, watch me? >> it was so much fun because i read so much-- i laughed so much when i read it. and i didn't read the other three stories, and when i saw the movie i could the nostop laughing because there are some
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things in this movie that-- to me, the guy that can only sick in the shower is one of the funniest things in woody's world. >> rose: he's a character that woody comes over and woody is going to make a star. >> yes. >> like the guy out of focus and the blind director, the guy that only sings in the shower. it's one of those-- one of those characters, and i laughed so hard. the movie is really funny. and i love playing in it because this character doesn't-- doesn't have a filter. doesn't think what she's going to say or do. she's just like a child that way. she's totally free, and it's so liberating to play somebody like that, that is the opposite from being a freak control. and i'm not calling myself a freak control-- what? >> . >> rose: don't we like people like this, that are free? >> i love the incautious prostitute. that's one of my favorite characters. i love it. >> rose: what is amanduous
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melancholy. what is that? in the context of all this. >> in the context of the film? >> rose: it comes from the poem, does it not? >> yes. >> rose: did woody talk about this? did woody have this in mind? >> no, no, i don't think so. very often we get letters or e-mails from people that say, "oh, i'm writing a paper on such and such a film." >> rose: they read something do into it. >> some deep psyche logical meaning that he never even that you of. so i think the same thing happens here. the movie is fun. it's funny. it's great. >> rose: but this is about their vignette, isn't it? >> yes, yes. >> rose: tell me what it's about. >> well, woody was asked the other day-- so i guess i'll sort of reiterate what i heard him say. but his basic thing was sort of this, you know, melancholy and this sense of sad nostalgia you get when you look at essentially
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beautiful works of art or beautiful work by -- >> rose: yes, go ahead. >> by, by-- no matter how profound the beaut of something sit's not going to last. and i guess it's a reflection on impermanence in general. >> rose? n cities as well as lives. >> i'm sure we could make that connection, sure. dismen the emptiness that create for probably-- i'm sure every human being on the planet. >> the villa we shot in was spectacular, and there was a lot to be side you know, there was a lot left that they could flesh out who lived where and what kind of life they had there. it's right outside the city of rome. but whether you go back now, all you really see are spectacularly beautiful shapes, and that's -- >> rose: there's also the notion that everything chpgz. >> everything does change. >> rose: everything ages and changes and you have to accept and live with that. >> right. and not always for the better.
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>> rose: and not always for the better. and that-- >> oh, goodness. everything's happening. >.i was going to say-- >> oh,. >> i was going to say when we were in rome, we took a side trip to florence, and i had never seen a david, and when i saw the david i stood in front of it and i cried. because-- and then i realized while i was crying that i was the kind of character that we'd allen would make fun of in a movie because i'm getting so emotional ( laughter ) in front of this statue. but it was a very pure experience that was undercut by my own neuroses. >> rose: this is also-- "to rome with love," i assume, is in part woody's homage to fellini and-- >> yes. >> rose: italian film makers. >> yes. he was always a fan of italian film makers, he thought they were the greatest, cinematographers were the greatest so it does have that
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element to it, absolutely. >> rose: what's the next film? >> the next film we are shooting in san francisco and new york. it has no title. >> rose: yes? does it have a cast? >> it has kate blanchet, sale hawkins, alec baldwin-- baldwin -- >> rose: you're back for the third time, sir? >> they're not sick of me yet. >> andrew dice clay. >> rose: andrew dice clay. ( laughter ). >> funny, right? >> that's funny. >> rose: playing himself? >> no, no, no, as an actor. >> rose: the thing woody says and it's always true for all the great affection he has for everything, for paris, or for london or for rome or for madrid, he is to the bone a new yorker. >> absolutely. >> rose: i mean-- >> absolutely. >> rose: we'd has said before he didn't need a spread in long island because he was very happy just to stay in manhattan during the hottest day in summer. >> absolutely. >> rose: because the love
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affair with this city transcended any sort of love affair for geography he would ever have. >> yes, that's absolutely true. and he does love other cities but there's nothing like new york for him. >> rose: thank you for coming. >> oh, thank you for having me. >> rose: great to have you here. >> thank you. >> rose: thank you very much. woody allen's "to rome with love" will open june 22. this program note-- tomorrow night on this program, conversations on diplomacy from the state department, secretary hillary clinton and former secretary of state jim baker join us for a conversation about how they see foreign policy today. this is a series of which our first conversation was between secretary clinton and former secretary of state kissinger. >kissinger. you just wrote a book on china and the future. how do you see the possibilities and what are the risks. >> i have to tell you i'm
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getting to the age where i start telling stories about myself. the relationship with china had one thing which has been pursued by eight administration, on an essentially bipartisan basis. it's one of the most consistent aspects of american foreign policy. it's only really in the last 10 years that china has emerged as an economic super power, and, therefore, has a capacity to participate on an international scale alcohol did noscale, whict before. so both of our countries have an oblication to try to construct an international environment in which by parallel evolutions -- i don't say necessarily-- but parallel evolutions-- we contribute to peace, to peace and progress. >> rose: as you travel from
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country to country, whether it's china or the middle east, have to-- have to correct impressions of your motivation and your actions. >> well, we try to correct impressions. sometimes we are successful, and sometimes we are not. but the point is a broader one than what henry has made just about kleina because this happens with every culture. even though we live in this ocean of information right now, where people wear jeans, where they all talk on cell phones, where young people are connected like never before in history, there are still very significant, historical, cultural, political, even psychological differences. and so we have to constantly not only be trying to disabuse others of assumptions about us, but also we have to in our own heads question assumptions about others. so it's an ongoing conversation.
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